{"product_id":"pre-order-cory-weeds-dig-weeds-cohearent-lp","title":"Cory Weeds - Dig Weeds! - Cohearent LP","description":"\u003cp\u003e\u003cstrong\u003eDeluxe tip-on gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAAA vinyl release\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joe Harley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded all-analog\/all-tube at Gray's new studio, Cohearent Recording, for Cohearent Records!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0558\/5027\/0926\/files\/BWF_File0.mp3?v=1747282165\"\u003e\u003cspan\u003eAudio Sample 1\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe email read, “Are you Cory Weeds, \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003ethe tenor player?” It was from Kevin\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eGray, who has worked on several\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emastering projects for my archival record\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003elabel, Reel to Real. The question\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003estruck me as odd—my name is fairly\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eunique, and thankfully, I’m pretty\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003esure there’s only one Cory Weeds. I\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ereplied, confirming that yes, I was indeed\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ethat guy. Kevin then asked if I\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewanted to make a record for him. My\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eself-deprecating wit kicked in, and I\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eresponded, “Why would you want ME\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eto make a record for you?” Kevin was\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003every complimentary and shared a remarkable\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003estory:\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHis granddaughter, Amber, is beginning\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eto share his love of jazz music.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOne day, she saved a track she liked\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eand thought her grandpa would like\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003etoo. She played it for him, and Kevin\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas indeed impressed. It turned out to\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ebe “Blue Daniel” from my Dreamsville\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ealbum, recorded with Jeff Hamilton.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eReceiving a compliment from Kevin\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eGray—a man who spends his days\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eremastering Blue Note records by\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003elegends like Dexter Gordon, Hank\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eMobley, and Joe Henderson—is incredible.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBut making an impression\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eon a college student still in her teens?\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThat’s something else entirely.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eConversations began, dates were set,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eand before I knew it, I was on a plane\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eto Los Angeles with my dear friend and\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003epianist David Hazeltine.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eRecording for Cohearent Records\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eis a unique experience, a throwback\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eto the early 1950s. Musicians in tight\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003equarters, all in the same room, with\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eminimal microphones. There’s no separation\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ebetween instruments, no editing,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eand mixing happens in real-time.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis setup demands that the band be\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003etight and confident. David Hazeltine,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eone of my closest friends and favorite\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emusicians on the planet, was the perfect\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003echoice for this session.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eDavid provided a stunning arrangement\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eof the rarely played gem “Deep in\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ea Dream” and co-wrote “Everything’s\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eComing Up Weeds” with me, both\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ehighlights of the record. David’s genius\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eis subtle. He puts subtle magic touches\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eon everything.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe weekend before heading to L.A.,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eDavid joined me in Vancouver to perform\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ethe material at Frankie’s Jazz\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eClub. Workshopping the music live was\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ea critical step in making this recording\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ea success.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eJoining us were bassist Neal Miner and\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003edrummer Byron Landham. Neal’s incredible\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emusicianship is matched only by\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ehis kindness. His big, phat, round sound\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewas essential for the recording’s intimate\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003esetup. Byron is a deeply swinging drummer\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewith a great pocket, and he brought\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eeverything together beautifully.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eI’ve rarely worked with a producer on\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003emy own recordings, and when I have,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eit’s always been someone I know and\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003etrust. So, when Kevin suggested Joe\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHarley as the producer, I was skeptical—\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003enot because I doubted his ability, but\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ebecause he spends his time mining the\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBlue Note archives carefully selecting\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewhich records to reissue. He’s always listening\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eto the greatest tenor players ever.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eDid I really want that guy in the booth\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003elistening to me? NO!\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHowever, Joe’s response to my initial\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eemail asking about his “style” of producing\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ereassured me. His calm, warm\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eapproach set the tone for the entire session.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHe brought just the right amount of\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eencouragement and advice, never getting\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003estressed or impatient.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis opportunity was one I’ll never\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eforget. Kevin and his team—including\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eCharlene, who made an unforgettable\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003echicken soup—created an incredibly comfortable\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eand inspiring environment to record\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ein. I think the music reflects that.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eI hope you enjoy,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003e-Cory Weeds\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003cbr\u003eCory Weeds, Saxophone\u003cbr\u003eDavid Hazeltine, piano\u003cbr\u003eNeal Miner, bass\u003cbr\u003eByron \"Wookie\" Landham, drums\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide 1\u003c\/strong\u003e\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCommitment\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEt Cedra\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEverything's Coming Up Weeds\u003c\/p\u003e\n\u003cp\u003eA Kiss That's Not A Kiss\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide 2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJimbo\u003c\/p\u003e\n\u003cp\u003eDeep In A Dream\u003c\/p\u003e\n\u003cp\u003eMartha's Prize\u003c\/p\u003e","brand":"Cohearent Records","offers":[{"title":"Default Title","offer_id":59547538128977,"sku":"198715769982","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1034\/5778\/3889\/files\/Screenshot2025-03-11at3.20.35PM.png?v=1779334535","url":"https:\/\/c09u90-kd.myshopify.com\/products\/pre-order-cory-weeds-dig-weeds-cohearent-lp","provider":"My Store","version":"1.0","type":"link"}